Judith
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| ==Judith in art== | ==Judith in art== | ||
| - | In the Renaissance, the story of Judith became an ''[[exemplum]]'' of the courage of local people against tyrannical rule from afar. The Dalmatian Humanist [[Marko Marulić]] (1450-1524) reworked the Judith story in his Renaissance literary work, ''Judita''. His inspiration came from the contemporary heroic struggle of the Croats against the [[Ottomans]] in Europe. | + | ''[[Judith and Holofernes]]'', the famous bronze sculpture by [[Donatello]], bears the implied [[allegorical]] [[subtext]] that was inescapable in Early Renaissance Florence, that of the [[courage]] of the [[Medieval commune|commune]] against [[tyranny]]. [[Michelangelo]] painted Judith in the corner of the [[Sistine chapel]]. Other Italian painters who took up the theme include<!--this list is chronological--> [[Botticelli]], [[Giorgione]], [[Titian]], [[Paolo Veronese]], [[Caravaggio]], [[Leonello Spada]], [[Bartolomeo Manfredi]] and [[Artemisia Gentileschi]]. In the north, [[Lucas Cranach]], [[Rembrandt]] and [[Peter Paul Rubens]] used the story. In European art, Judith is normally accompanied by her maid at her shoulder, which helps to distinguish her from [[Salome]], who also carries her head on a silver charger (plate). However a Northern tradition developed whereby Judith had both a maid and a charger, famously taken by [[Erwin Panofsky]] as an example of the knowledge needed in the study of [[iconography]]. |
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| - | ''[[Judith and Holofernes]]'', the famous bronze sculpture by [[Donatello]], bears the implied allegorical subtext that was inescapable in Early Renaissance Florence, that of the courage of the [[Medieval commune|commune]] against tyranny. [[Michelangelo]] painted Judith in the corner of the [[Sistine chapel]]. Other Italian painters who took up the theme include<!--this list is chronological--> [[Botticelli]], [[Giorgione]], [[Titian]], [[Paolo Veronese]], [[Caravaggio]], [[Leonello Spada]], [[Bartolomeo Manfredi]] and [[Artemisia Gentileschi]]. In the north, [[Lucas Cranach]], [[Rembrandt]] and [[Peter Paul Rubens]] used the story. In European art, Judith is normally accompanied by her maid at her shoulder, which helps to distinguish her from [[Salome]], who also carries her head on a silver charger (plate). However a Northern tradition developed whereby Judith had both a maid and a charger, famously taken by [[Erwin Panofsky]] as an example of the knowledge needed in the study of [[iconography]]. | + | |
| In the Renaissance, especially in Germany an interest developed in female "worthies" and heroines, to match the traditional male sets. Subjects combining sex and violence were also popular with collectors. Like [[Lucretia]], Judith was the subject of a disproportionate number of [[old master print]]s, sometimes shown nude. [[Barthel Beham]] engraved three compositions of the subject, and other of the "Little Masters" did several more. [[Jacopo de' Barberi]], Girolamo Mocetta after a [[Mantegna]] design, [[Parmigianino]], and [[Jacques Callot]] also made prints of the subject. The first reproductive print of his work commissioned by Rubens was an engraving by Cornelius Galle of his violent "large Judith", now in the [[Palazzo Barberini]]. | In the Renaissance, especially in Germany an interest developed in female "worthies" and heroines, to match the traditional male sets. Subjects combining sex and violence were also popular with collectors. Like [[Lucretia]], Judith was the subject of a disproportionate number of [[old master print]]s, sometimes shown nude. [[Barthel Beham]] engraved three compositions of the subject, and other of the "Little Masters" did several more. [[Jacopo de' Barberi]], Girolamo Mocetta after a [[Mantegna]] design, [[Parmigianino]], and [[Jacques Callot]] also made prints of the subject. The first reproductive print of his work commissioned by Rubens was an engraving by Cornelius Galle of his violent "large Judith", now in the [[Palazzo Barberini]]. | ||
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Revision as of 13:55, 15 September 2007
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The Book of Judith is the biblical parable of Judith who is an early incarnation of the femme fatale and a pretext to depict decapitation in art. Its most famous representation in recent times has been by Klimt as Judith I.
Story
The story revolves around Judith, a daring, dangerous and beautiful widow, who is upset with her Jewish countrymen for being unwilling to engage their foreign conquerors. She goes with her loyal if reluctant maid Abra to the camp of the enemy general, Holofernes, to whom she slowly ingratiates herself, promising him both sexual favors and information on the Israelites. Gaining his trust (though not having delivered on either promise), she is allowed access to his tent one night as he lays in a drunken stupor. She decapitates him, then takes his head back to her fearful countrymen. The Assyrians, having lost their leader, disperse, and Israel is saved by the hand of a woman. Though she is courted by many, she remains unmarried and pure for the rest of her life.
Judith in art
Judith and Holofernes, the famous bronze sculpture by Donatello, bears the implied allegorical subtext that was inescapable in Early Renaissance Florence, that of the courage of the commune against tyranny. Michelangelo painted Judith in the corner of the Sistine chapel. Other Italian painters who took up the theme include Botticelli, Giorgione, Titian, Paolo Veronese, Caravaggio, Leonello Spada, Bartolomeo Manfredi and Artemisia Gentileschi. In the north, Lucas Cranach, Rembrandt and Peter Paul Rubens used the story. In European art, Judith is normally accompanied by her maid at her shoulder, which helps to distinguish her from Salome, who also carries her head on a silver charger (plate). However a Northern tradition developed whereby Judith had both a maid and a charger, famously taken by Erwin Panofsky as an example of the knowledge needed in the study of iconography.
In the Renaissance, especially in Germany an interest developed in female "worthies" and heroines, to match the traditional male sets. Subjects combining sex and violence were also popular with collectors. Like Lucretia, Judith was the subject of a disproportionate number of old master prints, sometimes shown nude. Barthel Beham engraved three compositions of the subject, and other of the "Little Masters" did several more. Jacopo de' Barberi, Girolamo Mocetta after a Mantegna design, Parmigianino, and Jacques Callot also made prints of the subject. The first reproductive print of his work commissioned by Rubens was an engraving by Cornelius Galle of his violent "large Judith", now in the Palazzo Barberini.
